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604:". However, "...now maybe more than ever–strong metal women have put up their dukes and got down to it","carv out a considerable place for selves". Given that most heavy metal musicians are male, most metal guitarists are male. Almost all of the most well-known metal guitarists in major bands are male.
611:
genres like metal because the "... rebellion of rock music was largely a male rebellion". Philip
Auslander says that "Although there were many women in rock by the late 1960s, most performed only as singers, a traditionally feminine position in popular music". Though some women played instruments in
417:
Guitars with double-cutaways give performers easier access to the higher frets. Many guitar makers are now making a "scalloped cutaway" which was popularized by Irron R. Collins IV. This removes material on the backside of the "horn" allowing extended room for the fretting hand to get extended reach
571:
concert noted how "excessive volume in particular figured into the band's impact". Weinstein states that powerful sound, timbre, and volume are the key elements of metal. She argues that the loudness is designed to "sweep the listener into the sound" and to provide a "shot of youthful vitality".
224:
are "...an essential element of the heavy metal code ... that underscores the significance of the guitar" to the genre. Most heavy metal songs "... featur at least one guitar solo", which is "... a primary means through which the heavy metal performer expresses virtuosity". One exception is
414:(also known as "whammy bars"), which are hinged bridges that can be bent down or up in pitch, are an important part of shred playing, as they permit the "dive bombing" effect and many sounds which are not possible with a fixed-bridge instrument.
426:, have used custom-made tremolo bars and developed modified instruments, such as Roth's "Sky Guitar, that would greatly expand his instrumental range, enabling him to reach notes previously reserved in the string world for cellos and violins."
177:
began producing the
Marshall 1963, a guitar amplifier capable of producing the distorted "crunch" that rock musicians were starting to seek. With rhythm guitar parts, the "heavy crunch sound in heavy metal...
161:
creating a thick, heavy, distorted sound. The rhythm guitar player plays chords and riffs that create, along with the bass and drums, the rhythmic sound of a metal song. The rhythm guitar also plays the
599:
In relation to the gender composition of heavy metal bands, it has been said that "eavy metal performers are almost exclusively male" "...t least until the mid-1980s" apart from "... exceptions such as
324:
67:
and the sonic power that it projects through amplification has historically been the key element in heavy metal. The heavy metal guitar sound comes from a combined use of high volumes and heavy
235:
or "shredding" is a virtuoso lead guitar solo playing style for the electric guitar that is used in a number of metal genres. Shredding uses a range of fast playing techniques, such as "
322:
323:
285:", which "had rarely been heard in a rock context before". Chris Yancik argues that it is this "record, above any other, that spawned the genre of Shred".
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861:
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The death of the guitar solo In its efforts to tune down and simplify riffs, nu-metal effectively drove a stake through the heart of the guitar solo
616:, none of these bands achieved more than regional success. So they "did not provide viable templates for women's on-going participation in rock".
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182:" the strings with the picking hand and using distortion. Palm muting creates a tighter, more precise sound and it emphasizes the low end.
1911:
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547:. Some metal guitarists use 18 or more speaker cabinets, with each cabinet containing four 10" speakers. Following the lead set by
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Brake, Mike (1990). "Heavy Metal
Culture, Masculinity and Iconography". In Frith, Simon; Goodwin, Andrew (eds.).
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effects with the guitar, shred guitarists use high gain settings, distortion pedals and high on-stage volume.
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units, both of which increase sustain and facilitate the performance of shred techniques such as
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Kelly, Kim (17 January 2013). "Queens of noise: heavy metal encourages heavy-hitting women".
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47:. Heavy metal guitar playing is rooted in the guitar playing styles developed in 1960s-era
106:, the single guitarist will switch between rhythm guitar and lead guitar roles as needed.
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941:"Metal, Punk, and Motörhead: Generic Crossover in the Heart of the Punk Explosion"
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Heavy metal bands often have two electric guitarists, with one guitarist playing
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40:
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254:". Metal guitarists playing in a "shred" style use the electric guitar with a
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This Ain't The Summer of Love: Conflict and
Crossover in Heavy Metal and Punk
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are also used to create a unique tone. Shred-style guitarists often use high-
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281:', a blistering aural assault of solo electric guitar" which featured rapid "
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142:(and in some bands, a keyboard player). The rhythm guitarist typically plays
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Fast, Susan (2005). "Led
Zeppelin and the Construction of Masculinity", in
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Running with the Devil: Power, Gender, and
Madness in Heavy Metal Music
690:
Running with the Devil: Power, Gender, and
Madness in Heavy Metal Music
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onto the higher notes of the fretboard. Some shred guitarists, such as
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94:. The lead guitarist plays guitar solos, instrumental melody lines and
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Running with the Devil:Power, Gender and
Madness in Heavy Metal Music
862:"History of Shred: Uli Jon Roth – December 2001 – The House of Shred"
787:
Damage
Incorporated: Metallica and the Production of Musical Identity
744:
The
History of Marshall: The Illustrated Story of "The Sound of Rock"
667:
Fast (2005), pp. 89–91; Weinstein (2000), pp. 7, 8, 23, 36, 103, 104.
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of a song, along with the bass player (and, if the band has one, the
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In the Houses of the Holy: Led Zeppelin and the Power of Rock Music
567:
put it, "All we knew was we wanted more power." A 1977 review of a
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Shred guitar players often use electric solid-body guitars such as
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effect, a typical deep pitch bend using a whammy bar; followed by
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834:"Final Six: The Six Best/Worst Things to Come out of Nu-Metal"
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398:, as well as modern versions of classic-radical designs like
907:"October '98 issue of Guitar Player magazine Vai Interview"
266:, which create a more sustained guitar tone and facilitate
246:, fast scale and arpeggio runs and special effects such as
147:
18:
437:
string guitars to allow a greater range of notes, such as
390:. Some shred guitarists use elaborately-shaped models by
1068:"I Wanna Be Your Man: Suzi Quatro's musical androgyny"
1029:"Suzi Quatro: A prototype in the archsheology of rock"
1059:
962:
960:
717:The Electric Guitar: A History of an American Icon
856:
854:
539:Electric guitarists in metal use large, powerful
1883:
957:
954:6.2 (Fall 2004). Retrieved on November 15, 2007.
150:using an electric guitar that is plugged into a
563:set new benchmarks for volume. As Blue Cheer's
273:In 1978, a "heretofore unknown guitarist named
242:, diminished and harmonic minor scales, finger-
851:
1239:
997:Eddy, Chuck (1 July 2011). "Women of Metal".
747:. Hal Leonard Corporation. pp. 28–33.
441:. Most shred guitar players use a range of
1246:
1232:
82:. The rhythm guitar player is part of the
1065:
969:On Record: Rock, Pop and the Written Word
939:Paul Sutcliffe quoted in Waksman, Steve.
816:
465:. These and other effects units, such as
1026:
986:. Wesleyan University Press. p. 76.
587:
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519:
296:when they are not playing guitar solos.
229:bands, which tend to omit guitar solos.
200:
130:The rhythm guitar player is part of the
113:
17:
619:Notable women metal guitarists include
1884:
1210:Heavy Metal: The Music and its Culture
981:
924:
1227:
1066:Auslander, Philip (28 January 2004).
1011:
966:
789:. By Glenn Pillsbury. Routledge, 2013
740:
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154:, with either the amplifier and/or a
996:
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193:simultaneously as they play guitar.
1147:Music Cultures in the United States
889:"History of Shred: Eddie Van Halen"
13:
1912:Heavy metal performance techniques
1182:. University of California Press.
886:
670:
14:
1923:
1198:Heavy Metal: A Cultural Sociology
559:, early heavy metal acts such as
1866:
1865:
1765:New wave of American heavy metal
1149:, ed. Ellen Koskoff. Routledge.
1027:Oglesbee, Frank W. (June 1999).
891:. House of Shred. Archived from
864:. 6 October 2011. Archived from
821:. Psychology Press. p. 158.
592:Morgan Lander, the guitarist of
584:Lita Ford playing guitar in 2012
575:
543:, typically with multiple large
345:Problems playing this file? See
320:
306:
216:, instrumental melody lines and
109:
1770:New wave of British heavy metal
1253:
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832:Grow, Kory (26 February 2010).
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952:Echo: A Music-Centered Journal
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682:
661:
658:Weinstein (2000), pp. 14, 118.
652:
641:List of heavy metal guitarists
429:Some shred guitar players use
277:" from Los Angeles released "'
196:
1:
1907:Guitar performance techniques
1167:. Wesleyan University Press.
645:
173:In 1966, the British company
1897:European musical instruments
971:. Routledge. pp. 87–91.
819:Movie Music, the Film Reader
614:all-female garage rock bands
299:
185:Some rhythm guitarists sing
134:of the band, along with the
86:of the band, along with the
7:
1775:Early Norwegian black metal
1208:. Revised edition: (2000).
1134:. Oxford University Press.
768:"Lesson four- Power chords"
515:
508:. To facilitate the use of
10:
1928:
1083:Cambridge University Press
720:. JHU Press. p. 136.
638:
288:Some lead guitarists sing
78:and one guitarist playing
63:and overall loudness. The
1856:
1803:
1685:
1588:
1261:
1091:10.1017/S0261143004000030
1045:10.1080/03007769908591731
1033:Popular Music and Society
694:Wesleyan University Press
607:Women have less roles in
212:The lead guitarist plays
122:, performing at the 2007
1715:Bangladeshi heavy metal
1705:Australian thrash metal
1178:Waksman, Steve (2009).
982:Walser, Robert (1993).
817:Dickinson, Kay (2003).
741:Doyle, Michael (1993).
714:A. J., Millard (2004).
688:Walser, Robert (1993).
679:Weinstein (2000), p. 23
36:) is the use of highly-
1838:Heavy metal subculture
1750:Indigenous metal music
1725:Brazilian thrash metal
1710:Australian heavy metal
773:19 August 2007 at the
596:
585:
536:
209:
175:Marshall Amplification
127:
26:
1790:Teutonic thrash metal
1720:Bay Area thrash metal
1700:Argentine heavy metal
1315:Blackened death metal
1081:(1). United Kingdom:
591:
583:
523:
218:melodic fill passages
204:
117:
96:melodic fill passages
21:
1892:Occupations in music
1730:Canadian heavy metal
1130:Fast, Susan (2001).
528:guitar cabinets for
502:Hughes & Kettner
118:The guitarists from
1785:Swedish death metal
1740:Florida death metal
1735:Chinese heavy metal
1695:African heavy metal
1493:Neue Deutsche Härte
930:Walser (1993), p. 9
836:. Revolver magazine
476:amplifiers such as
1760:Les LĂ©gions Noires
1488:Neoclassical metal
1298:National Socialist
1001:. SpinMedia Group.
946:2007-06-18 at the
895:on 6 October 2011.
635:Notable performers
597:
586:
537:
260:electronic effects
210:
128:
30:Heavy metal guitar
27:
25:performing in 2010
1879:
1878:
1538:Progressive metal
1283:Beatdown hardcore
1278:Avant-garde metal
1273:Alternative metal
868:on 6 October 2011
727:978-0-8018-7862-6
541:guitar amplifiers
451:audio compression
325:
164:chord progression
120:Children of Bodom
1919:
1869:
1868:
1818:Environmentalism
1589:Musical elements
1573:Crossover thrash
1451:Industrial metal
1248:
1241:
1234:
1225:
1224:
1194:Weinstein, Deena
1118:
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1101:. Archived from
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798:Weinstein, p. 24
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777:. Marshall Amps.
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545:speaker cabinets
327:
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316:Dive bomb effect
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256:guitar amplifier
152:guitar amplifier
53:psychedelic rock
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1799:
1795:Ukrainian metal
1745:Hungarian metal
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1623:Gallop drumbeat
1584:
1563:Symphonic metal
1325:Christian metal
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948:Wayback Machine
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887:Yancik, Chris.
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275:Eddie Van Halen
268:guitar feedback
258:and a range of
208:soloing in 1977
206:Eddie Van Halen
199:
124:Masters of Rock
112:
65:electric guitar
41:electric guitar
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1108:on 24 May 2013
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639:Main article:
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1394:Extreme metal
1392:
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1389:Electronicore
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1265:fusion genres
1263:Subgenres and
1260:
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1219:
1218:0-306-80970-2
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1206:0-669-21837-5
1203:
1200:. Lexington.
1199:
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1075:Popular Music
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807:Walser, p. 50
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629:Morgan Lander
626:
625:The Great Kat
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576:Role of women
573:
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566:
565:Dick Peterson
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530:Jeff Hanneman
527:
522:
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467:delay effects
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372:Kiesel/Carvin
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294:backup vocals
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110:Rhythm guitar
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31:
24:
20:
16:
1655:Shred guitar
1629:
1618:Cymbal choke
1580:Viking metal
1568:Thrash metal
1558:Stoner metal
1548:Sludge metal
1513:Pirate metal
1498:Nintendocore
1456:Kawaii metal
1446:Groove metal
1431:Gothic metal
1404:Celtic metal
1367:Funeral doom
1209:
1197:
1179:
1164:
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1131:
1110:. Retrieved
1103:the original
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914:. Retrieved
910:
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893:the original
882:
870:. Retrieved
866:the original
845:
840:21 September
838:. Retrieved
827:
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598:
549:Jimi Hendrix
538:
428:
416:
412:Tremolo bars
353:
344:
335:string noise
287:
272:
237:sweep-picked
233:Shred guitar
231:
222:Guitar solos
214:guitar solos
211:
184:
172:
159:effect pedal
144:power chords
129:
73:
61:guitar solos
34:metal guitar
33:
29:
28:
23:Kirk Hammett
15:
1833:Headbanging
1780:Palm Desert
1670:Death growl
1650:Power chord
1645:Palm muting
1640:Guitar solo
1553:Speed metal
1533:Power metal
1508:Pagan metal
1481:Progressive
1461:Latin metal
1384:Drone metal
1335:Death metal
1293:Black metal
1288:Biker metal
1255:Heavy metal
1212:. Da Capo.
1125:Works cited
911:jemsite.com
490:Mesa Boogie
474:vacuum tube
424:Ulrich Roth
290:lead vocals
248:tremolo bar
197:Lead guitar
187:lead vocals
180:palm muting
104:lead vocals
100:power trios
80:lead guitar
59:, extended
45:heavy metal
32:(or simply
1886:Categories
1635:Distortion
1613:Blast beat
1523:Post-metal
1518:Pornogrind
1421:Glam metal
1416:Funk metal
1399:Folk metal
1379:Doom metal
1362:Death-doom
1330:Crust punk
916:16 January
646:References
609:rock music
602:Girlschool
561:Blue Cheer
459:hammer-ons
447:distortion
347:media help
264:distortion
252:dive bombs
156:distortion
69:distortion
57:distortion
49:blues rock
1861:Hard rock
1828:Festivals
1675:Screaming
1601:Fuzz bass
1543:Rap metal
1528:Pop metal
1471:Metalcore
1436:Grindcore
1426:Goregrind
1357:Deathcore
1345:Technical
1320:Blackgaze
1303:Symphonic
1099:191508078
1053:0300-7766
1039:(2): 29.
696:. p. 10.
621:Lita Ford
612:American
569:Motörhead
463:pull-offs
439:Steve Vai
420:Scorpions
392:B.C. Rich
331:Dive bomb
300:Equipment
270:effects.
240:arpeggios
170:player).
38:amplified
1871:Category
1608:Drumming
1503:Nu metal
1466:Mathcore
1196:(1991).
1163:(1993).
1112:25 April
1085:: 1–16.
944:Archived
872:17 March
771:Archived
526:Marshall
516:Loudness
478:Marshall
445:such as
410:models.
408:Explorer
404:Flying V
384:Schecter
279:Eruption
262:such as
227:nu metal
168:keyboard
126:festival
90:and the
1902:Guitars
1823:Fashion
1805:Culture
1666:Vocals
1476:Melodic
1340:Melodic
1308:Unblack
557:The Who
506:Randall
455:tapping
443:effects
380:Charvel
376:Jackson
283:tapping
244:tapping
140:drummer
92:drummer
1848:Umlaut
1843:Poseur
1662:Lyrics
1630:Guitar
1441:Grunge
1216:
1204:
1186:
1171:
1153:
1138:
1097:
1051:
751:
724:
700:
627:, and
594:Kittie
534:Slayer
486:Peavey
482:Carvin
461:, and
400:Gibson
368:Kramer
364:Fender
360:Gibson
356:Ibanez
1813:Bands
1374:Djent
1106:(PDF)
1095:S2CID
1071:(PDF)
553:Cream
498:Laney
435:eight
431:seven
148:riffs
98:. In
1596:Bass
1214:ISBN
1202:ISBN
1184:ISBN
1169:ISBN
1151:ISBN
1136:ISBN
1114:2012
1049:ISSN
999:Spin
918:2019
874:2015
842:2015
749:ISBN
722:ISBN
698:ISBN
555:and
504:and
494:ENGL
471:gain
449:and
406:and
396:Dean
386:and
146:and
138:and
51:and
1087:doi
1041:doi
532:of
433:or
402:'s
394:or
388:ESP
292:or
189:or
43:in
1888::
1093:.
1079:23
1077:.
1073:.
1047:.
1037:23
1035:.
1031:.
959:^
950:.
909:.
853:^
844:.
692:.
672:^
631:.
623:,
551:,
500:,
496:,
492:,
488:,
484:,
480:,
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382:,
378:,
374:,
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358:,
220:.
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1089::
1055:.
1043::
1016:.
920:.
876:.
757:.
730:.
704:.
349:.
337:.
250:"
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